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Official Edexcel AS Level Music - 21/05/12 Exam Thread

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    Hi Guys

    Last year we made one for GCSE and it was really useful because everyone shared their extended wriiting essays and notes, and it would be great to gather all the stuff for AS too.

    Here are the set works and periods, and I'll build up this post as we go along, but we need people to contribute!

    SET WORKS 2012

    1. Berlioz: Harold In Italy - Romantic
    2.Corelli: Trio Sonata in D - Baroque
    3. Schumann's Kinderscenen - Romantic
    4.Beethovan: Septet in E flat - Classical
    5. Stravinsky: Symphony of Psalms - Neoclassical
    6. Weekles: Sing we at Pleasure- Ballett/Madrigal
    7. Haydn: My Mother Bids Me Bind My Hair
    8. Carl Perkins: Honey Dont - Rockabilly
    9. The Beatles: A Day In The Life



    Lets get this thing started!

    Ta
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    SING WE AT PLEASURE

    Genre
    English madrigal


    Style
    Ballett

    Date
    First published in 1598

    Form
    Binary form
    A bars 1 - 22
    B bars 23 - 85 (23 - 53 + 53 - 85)
    The AB structure is typical for English madrigals

    Fa-la-la refrain


    The Fa-la-la refrain is a typical feature of the English Ballett and closes both sections of the structure.

    A - bars 8 beat 3 - 22

    B - bars 43 beat 3 - 53; bars 74 beat 3 - 85

    Style
    Ballett

    The work has a typical dance-like feel in the sprung rhythms heightened by the dotted rhythm


    Setting

    The text is set typically in syllabic form to enhance the dance quality of the music.


    Text

    The text concerns archetypal, clichéd Elizabethan subjects: love, shepherds and dancing.

    Texture


    The complex nature of the counterpoint is typical of the English Ballet form. Here, again in keeping with the strictures of the time, the work is homophonic, that is all parts moving together with a clear chord structure. However, the parts move in a highly contrapuntal manner.


    Part movement

    This is an important feature of the English Madrigal and this work is a good example of each vocal part being highly melodic and vocally dextrous whilst remaining idiomatic.


    Metre

    ¾ simple triple time is a characteristic metre for a Ballett. In the anthology recording the performers create the sensation of one beat per bar.

    Hemiola

    The use of hemiola towards the cadence at bar 20 - 21 is a feature typical of the genre and period

    Tonality

    Music at of this period was caught between the old modal and the new diatonic styles. This work has both modal and diatonic traits, and again was a distinctive feature of English Madrigals of this period.

    Key signature


    There is no key signature although the tonality is clearly G major. Weelkes typically employs accidentals in place of a key signature.

    Modulation

    Weelkes modulates to the subdominant by simply omitting the F# accidental from the music. Modulations in a Ballett are to related keys, such as the modulations to the sub-dominant key of C major at bar 14 - 17. There is a brief modulation to the dominant at bar 10 - 11 with the addition of C# in the bass.

    Harmony

    The harmony is typically simple as the drama of the Ballett lies within the rhythmic language. Here, Weelkes employs many root position chords such as the starkly homophonic passage from bars 31 beat 3 - 34 beat 2.


    Word painting

    This is an essential feature of any Madrigal and emphasised the marriage between music and text. There is no overt word paining here although the high spirits of the text are reflected in:

    · The dotted crotchet + semiquaver theme which is almost omnipresent

    · The syncopation in the alto causes tension in the rhythms and forces a suspension between the G and F#

    · The use of hemiola towards the cadence at bar 20 - 21

    The quaver runs in the bass and tenor in the Fa-La-La refrain after bar 44 heighten the excitable rhythmic language
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    CORELLI
    Context and forces

    Corelli was an Italian violinist and composer whose works were very influential in the development of instrumental music in the late Baroque period
    NAM 15 comes from a collection of 12 trio sonatas, published in 1689
    The term trio refers to the three melodic lines printed in the score, but normally four players are required for a trio sonata
    The two treble staves are for solo violins, but the lowest stave, known as figured bass because of the numbers and other symbols printed below it, is labelled for violone and organ

    The violone was any sort of low-pitched bowed string instrument (the part is usually played on a cello today)
    The figuring part below the bass part indicates the type of chords to be improvised by the organist in order to fill out the texture between the high violin parts and the much lower bass notes - known as 'realising' the figured bass

    The music on the lowest stave is known as a continuo part - found in almost all Baroque music that requires more than one performer
    Instruments for this part can vary, but it normally needs at least one bass instrument to play the notes as written and one chordal instrument, such as a harpsichord, lute or organ to realise the figured bass

    Most of the 12 trio sonatas that make up Corelli's Opus 3 have four movements, in the order slow-fast-slow-fast
    The whole set are sometimes described as church sonatas,perhaps because of the use of the organ as the continuo instrument
    Could have been played during church services but would have also been played for entertainment in the palaces of the nobles

    Corelli's string writing is idiomatic - each part is conceived in terms of the instrument for which it is written - one of the reasons why Corelli's work was so influential
    Doesn't use the extremes of the violin's range but the first violin part in bars 34-35 does require the use of the third position with the left hand higher up than the finger board and both violin parts exploit the contrast between lively rhythms and sustained notes

    Structure

    NAM 15 is in the style of a gigue, a dance in fast compound time often used by Corelli and other Baroque composers to conclude a multi-movement composition
    Binary form, it's two sections being indicated by repeat marks
    A and B don't necessarily represent contrasting themes: the initial musical ideas and mood are maintained throughout each movement

    Harmony and tonality

    Diatonic harmony and cadences help to clarify the binary structure
    Movement starts in D major and then modulates to a perfect cadence in the dominant key of A major in bars 10-11, where it remains until the first double bar
    Longer B section passes through several related keys before returning to the tonic in the closing bars
    Harmony is functional - defines the keys we have identified, chiefly through the use of perfect cadences
    Most of the chords are root-position or first inversion triads
    Dissonant suspensions that usually resolve by step to a consonant note
    Nearly every 7 in the figured bass is followed by a 6 - resolution of the dissonance

    Rhythm

    Movement contains rhythmic variety, especially in the violin parts
    Dotted crotchet pulse is enlivened further by the following rhythmic features:
    Cross-rhythm in bar 26, where the tie across the middle of the bar results in the first violin sounding as though it is in 3/4 while the lower part remains in 6/8 time
    Hemiola in bar 27 that results in all three parts sounding as though they are in 3/4 time
    Syncopation caused by the first violin

    Texture

    Contrapuntal texture
    Begins like a fugue, based on the subject heard in the first two bars
    Followed by a real fugal answer played by the second violin
    Third entry comes in the bass at bar 6
    At the start of the B section the fugal subject is heard in a free inversion
    Imitative second violin and bass parts now enter only a bar apart, forming the fugal texture known as stretto
    Most of the melodic material derives from the quaver and semi-quaver motifs in the subject
    Although the imitative entries are shared among all three parts, the bass takes on a more functional role after bar 23
    Texture is mainly widely spaced, with the two violin parts often crossing and placed high above the bass (as in bar 12)
    The wide gap (which is filled by the organ) is known as a polarised texture and is a feature of much Baroque music
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    I used to teach the Popular Music and Jazz module. Here's my old notes which include Honey Don't and Day In The Life
    Attached Files
  1. File Type: doc Popular Music and Jazz (Printer friendly).doc (78.0 KB, 210 views)
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    (Original post by Fingersmith)
    I used to teach the Popular Music and Jazz module. Here's my old notes which include Honey Don't and Day In The Life
    Thanks for that! Won't let me c&p for some reason, but I'm trying!
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    For super-detailed notes go to the Edexcel site, click 'teacher support materials' and you will see a highly detailed PDF for each set work: :http://www.edexcel.com/quals/gce/gce...s/default.aspx

    I have just finished making my own condensed notes on each set work. Check them out:https://docs.google.com/open?id=0B_o...Nms2QlJRU19EQQ

    They were written for me, and me alone, but hopefully you will find them useful.

    I have bullet-pointed each set of notes (one bullet point- one mark) and grouped features into those we will be asked about in the comparison question (Melody, texture...). I have five points for each heading. On that question we get asked about two features for two set works. Thus; full marks! Hopefully.....
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    Hey guys just wanted to know if anyone had any tips on the essay writing section of this paper i.e Q3. For the 10 mark question and the 18 mark. Just how to structure the answer and how many points to give etc. Also if anyone had any examples that would be great! Thank you so much this thread is really useful
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    (Original post by ellerynadarajah)
    Hey guys just wanted to know if anyone had any tips on the essay writing section of this paper i.e Q3. For the 10 mark question and the 18 mark. Just how to structure the answer and how many points to give etc. Also if anyone had any examples that would be great! Thank you so much this thread is really useful
    For the 10 mark question, do a one sentence intro and then make ten points. Bullet-point them to show where you want the mark. It's not really an essay at all; just a stream of facts. Eg. Beethoven wrights in Sonata form with an Exposition, Development and Recapitulation.

    For the 18 mark question don't 'compare and contrast'. Do a sentence intro for each set work, then bullet-point five things for the first thing they asked you about (Eg, Melody) for one set work. Now five points about the other thing they asked about (Eg. Harmony). Repeat for the other set work. Remember to refer to the score occasionally, Eg. Haydn uses an E major arpeggio in the melody, such as in the first bar of the vocal melody after the piano introduction.


    This may sound stupid, especially to English and History students used to righting good essays, but according to our teacher, this is the way to do it.
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    (Original post by Lobz)
    For super-detailed notes go to the Edexcel site, click 'teacher support materials' and you will see a highly detailed PDF for each set work: :http://www.edexcel.com/quals/gce/gce...s/default.aspx

    I have just finished making my own condensed notes on each set work. Check them out:https://docs.google.com/open?id=0B_o...Nms2QlJRU19EQQ

    They were written for me, and me alone, but hopefully you will find them useful.

    I have bullet-pointed each set of notes (one bullet point- one mark) and grouped features into those we will be asked about in the comparison question (Melody, texture...). I have five points for each heading. On that question we get asked about two features for two set works. Thus; full marks! Hopefully.....
    You are a star.

    I'm self teaching myself so im in a bit of an awk position right now!

    Also, how do you suggest we do the compare question?
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    Are the essay based questions marked on quality of writing? Or is it fine to simply write bullet points?
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    I'm currently doing A2 Music, but I sat the Edexcel AS exam last year and was told never to bullet point. Just write the points you would normally make in sentences and that will be your essay. It doesn't need to be really well written, just in a basic essay format - a large paragraph rather than bullet points.
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    https://www.youtube.com/watch?v=g8as...&feature=g-upl

    Here is my rushed AS Composition :P
    I did brief 3!
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    Is it very unwise just to focus my revision on instrumental pieces? I would revise both sections for questions 1 and 2, but just instrumental in more depth for the essay questions?
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    (Original post by niamh067)
    Is it very unwise just to focus my revision on instrumental pieces? I would revise both sections for questions 1 and 2, but just instrumental in more depth for the essay questions?
    I'm doing exactly that....
    I'm making revsion cards for all of them, but focussing in depth on the Instrumental Music for the essays. I'm worried about time management for that paper...no way is 2 hours long enough for two essays, two listening qs, a unseen passage and a choral O.o
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    Oh good, I thought it was only my class doing it I don't think the timings are that bad for the paper though? I always have time to spare at the end, although, I'm not very good at any of it so that's probably why :P
    My teachers told me to just make a list of points disguised as an essay for the essay questions? I've looked in all my revision books and they seem to mark it a mark for a point with no marks awarded for essay technique? I don't know, that's just how I do it
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    (Original post by niamh067)
    My teachers told me to just make a list of points disguised as an essay for the essay questions? I've looked in all my revision books and they seem to mark it a mark for a point with no marks awarded for essay technique? I don't know, that's just how I do it
    I think it's absolutely fine to do that, just definitely do not use actual bullet points like previous posters have said. Also, for the A2 exam, there is a 36 mark essay which does get a couple of marks for essay technique so if you're carrying it on, it's a good idea to get used to writing in essay format.
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    HELP MEEE
    i have to cram a years worth of theory into a weekend.
    HOW?!
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    (Original post by anuradha_d)
    HELP MEEE
    i have to cram a years worth of theory into a weekend.
    HOW?!
    LOOL! Sorry, but I don't think that will work! Maybe just learn the non-harmony notes; they're quite easy. Good luck anyway....


    (Original post by Caitykinss)
    I think it's absolutely fine to do that, just definitely do not use actual bullet points like previous posters have said. Also, for the A2 exam, there is a 36 mark essay which does get a couple of marks for essay technique so if you're carrying it on, it's a good idea to get used to writing in essay format.
    We were told to actually use bullet-points (with full sentences). It makes it easy for the examiner to see where you want each mark. Also, seeing as there are zero marks for fluency, essay technique, or anything else like that, I don't see how they would be justified to penalise us for using bullet-points.

    Ether way, I doubt it would make much difference; using bullet-points is just easier.
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    (Original post by Lobz)
    LOOL! Sorry, but I don't think that will work! Maybe just learn the non-harmony notes; they're quite easy. Good luck anyway....




    We were told to actually use bullet-points (with full sentences). It makes it easy for the examiner to see where you want each mark. Also, seeing as there are zero marks for fluency, essay technique, or anything else like that, I don't see how they would be justified to penalise us for using bullet-points.

    Ether way, I doubt it would make much difference; using bullet-points is just easier.
    I need to learn the set works to

    LOL I'm ok with the harmony shiz
    its just the stoopid set works
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    Okay guys, so the exam is tomorrow....

    What are you hoping comes up for the essays??!!

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